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After 43 years, Barbara London is leaving MoMA on October first. Over the course of her career as associate curator of Media and Performance Art, she has guided us over the expanding landscape of new media.

Her career began in the 70s when she founded the museum’s video collection, introducing works by Nam June Paik, Laurie Anderson, and Lynda Benglis. Over the years, she has consistently exhibited new work by Chinese and Japanese artists and pioneered Internet art at MoMA: in 2001 she produced the museum’s first website art commission, Tony Oursler’s Timestream, and in 1997 created Stir-Fry, a multimedia site mapping emerging media art in China. London has made a career of championing media and sound art, forms that continue to pose institutional challenges.

In this week’s round up of vitriol-filled art criticism, Karen Rosenberg kinda sorta reveals her true feelings about Ed Ruscha, while Andrew Russeth suggests Nate Lowman just quit. But does telling an artist to change careers ever have an effect? Lindsay Pollock might have the answer.

We’re going to dole out this week’s blogger prize for Most Offensive Post one day early, because we’re pretty sure no one’s going to top GalleristNY. Yesterday, the blog celebrated Jayson Musson’s first show at Salon 94 with a two-page profile on the artist full of racist undertones. That’s an awfully strong word, and because we don’t use it lightly, we’re going to highlight exactly what we don’t like and why.

AFC’s nomination for Best Art Blog at the Art & Reality Conference in St. Petersburg has inspired me to take a look at our archives. The blog’s content stretches over six years — a lifetime on the Internet — the body of which is now recognized as pioneering work in the field. Newer blogs like Hyperallergic, GalleristNY, and In The Air have greatly benefited from this early work.

The day’s only half way through, which means the AFC office has taken to placing bets on what the rest of today’s Halloween content will look like on the art interwebs. Some headlines we consider likely from our favorite art publishers.

I guess we can look forward to the New York Observer’s breezy trademark slideshows on GalleristNY. Up first: New York Art World’s Most Powerful Women. This looks like this list was made for a price database company; a list of the first names one sees in a catalogue of Sotheby’s and Christies, plus a few blue chip gallery owners. Where’s Laura Hoffman, Chrissie Iles, Lauren Cornell? Almost no minorities. One critic. No C-Monster. Bullshit. [GalleristNY]

Congratulations to “R.E.M. Release Animated GIF Album Cover” for winning the Most Worthless Press Release Email @1000timesyes Has Ever Opened award. Upon a request for evidence I confirmed the validity of this award. Half-assedry at it’s best: Behold the GIF!